Hidden light by Jan Plecháč and Henry Wielgus for Lasvit

Hidden light by Jan Plecháč and Henry Wielgus for Lasvit

Dezeen Showroom: designers Jan Plecháč and Henry Wielgus have created the Hidden light for Lasvit, which is available as a pendant or table lamp.

Lasvit’s Hidden light features a metal fixture partially obscured within an oversized crystal-clear blown glass “cage”.

Hidden light by Jan Plecháč and Henry Wielgus for Lasvit
The Hidden light features a massive blown glass shade

The piece is technically challenging to create, not least because of its size — Lasvit describes it as being so heavy that creating it “stretches the limits of human abilities”.

To achieve the surface effect, it also necessitated the creation of a special metal mould that Lasvit says was arduous to make but lasts for almost an eternity.

Hidden light by Jan Plecháč and Henry Wielgus for Lasvit
The light is meant to have symbolic meaning

According to Plecháč and Wielgus, the light is symbolic of how a person’s “inner light cannot be contained”.

“Sometimes, we might feel caged by society and its expectations, but when we concentrate on our inner energy, it can become a lantern that will open the door of this cage and set us free,” said the designers.

Product: Hidden light
Designer: Jan Plecháč and Henry Wielgus
Brand: Lasvit
Contact: anna.minarikova@lasvit.com

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Ganni and Pyratex create tracksuit collection made from banana waste

A model wearing a Ganni and Pyratex tracksuit

Danish fashion brand Ganni has teamed up with Spanish material research company Pyratex to create a grey clothing collection made from a banana-waste biomaterial.

The three-piece capsule collection, which is designed to be a more sustainable alternative to traditional polyester tracksuits, comprises a pair of jogging bottoms, a square-necked crop top with a zip-up back and a cropped hoodie.

Each item has been made with Element 2, a fibre created by Pyratex that combines waste from the banana food industry – including leaves, trunks and branches – with organic cotton.

The material forms part of Ganni‘s Fabrics of the Future, an initiative that develops innovative materials for its clothing collections.

A woman wearing a grey tracksuit by Ganni
Ganni and Pyratex have released a three-piece tracksuit collection

“Our goal is to diversify the natural fibers we wear to avoid synthetic fibers and the overexploitation of cotton or linen,” said Pyratex founder and chief executive officer Regina Polanco.

“We want to allow the innovative fibers we work with to become as commonplace in our wardrobes as cotton, linen, or even synthetic fabrics,” Polanco told Dezeen.

A woman wearing a grey crop top and tracksuit bottoms
The garments are produced with Element 2, a material made from banana waste

To create Element 2, Pyratex first sourced the banana waste from banana farms located in southern Indian states – specifically Tamil Nadu, Andhra Pradesh and Madhya Pradesh.

“In the case of Pyratex Element 2, our banana agri-waste fiber is obtained from the waste leaves, trunks and branches resulting from banana fruit agriculture,” Polanco explained.

She defines agri-waste as “the waste resulting from agricultural operations”.

A model wearing a hoody and jogging bottoms
It is made from waste banana leaves, trunks and branches and cotton

The rough and strong banana fibre is then dyed with reactive dyes before being softened with water vapour, which Polanco said has a smaller environmental impact than traditional chemical textile softening.

The company then knits this fabric together with 65 per cent organic cotton at its partner mill in Portugal. The resulting textile is designed to feel like soft cotton.

According to Polanco, waste is traditionally burned when the banana tree is harvested, which releases large amounts of CO2 into the atmosphere.

“The Indian state of Tamil Nadu is the largest producer of bananas in the country, cultivating around nine million metric tons (MT) annually,” Polanco said.

“There is a long tradition in India of burning agricultural waste: when harvesting the banana tree, leaves and trunks are burned,” she continued.

“This produces high CO2 levels released into the atmosphere; however, by using this waste as fiber, Pyratex avoids CO2 emissions and any negative impact on the environment.”

A woman wearing a dark grey Ganni hoody
The resulting material is designed to feel soft and supple

Polanco hopes that the collection will encourage consumers to switch from buying synthetic materials to clothes made from biomaterials, which could significantly reduce fashion’s negative environmental impact on the planet.

“The concept behind the collection is giving visibility to innovative products and making these available to consumers,” Polanco said.

“Making garments with responsible fabrics like ours is a big step towards a better fashion consumption, and Ganni has shown they’re not scared to innovate for a better planet,” she added.

Other designers have also looked to plant-based materials to create more sustainable fashion products. New York-based designer Charlotte McCurdy used algae to make a water-resistant jacket that captures CO2 from the atmosphere.

Meanwhile, luxury French fashion house Hermès collaborated with biomaterials company MycoWorks to reimagine its Victoria shopper bag using a leather alternative grown from mycelium.

Images are courtesy of Ganni.

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Reiach and Hall completes "low-key" campus for Forth Valley College

Entrance to Forth Valley College in Falkirk

Reiach and Hall Architects used a palette of pale brick, concrete and aluminium to give this college campus in Falkirk, Scotland, a modest appearance that reflects its purpose as a facility for serving students.

The Falkirk Campus is the final building to be completed as part of a decade-long project to revitalise Forth Valley College’s estates in Central Scotland.

It has been shortlisted for this year’s RIBA Stirling Prize.

Exterior of college in Falkirk
Reiach and Hall has created a college in Falkirk

Edinburgh-based Reiach and Hall previously completed facilities for the college’s Alloa and Stirling campuses in 2011 and 2012 respectively. The Falkirk Campus is the largest of the buildings and serves as FVC’s headquarters.

The 21,000-square-metre campus replaces a 1960s building that was no longer fit for purpose. Built on an adjacent site, the new building references its predecessor’s long, low-lying volumes.

Brick and glass exterior of Forth Valley College
Forth Valley College has a material of palette of pale brick, concrete and aluminium

The campus’ specialised teaching facilities include laboratories, a distillation plant, a biotechnology centre, construction workshops, a sports centre and front-of-house training salons for hairdressing and beauty.

Reiach and Hall described the campus’ external appearance as “low key, reflecting the modesty of an institution that seeks to serve.”

Reiach and Hall Architects-designed college entrance
The building is shortlisted for this year’s RIBA Stirling Prize

The main building is clad with handmade pale-coloured bricks that are complemented by precast concrete elements chosen to reference the college’s other campuses.

Two adjacent wings housing workshops, the gymnasium and other specialist teaching spaces are wrapped in a skin of profiled aluminium panels.

The plan is arranged around a central refectory, intended to provide a gathering place for informal academic conversation as well as social interaction.

Two main routes through the campus come together at the refectory, which opens onto a courtyard, providing an additional communal space for use in the summer months.

The remaining spaces form a grid, with courtyards, paths, open learning spaces and dedicated classrooms allowing the campus to offer a variety of flexible learning activities.

Interior of Forth Valley College in Falkirk
The plan is arranged around a central gathering place. Photo is by Paul Zanre

“In line with the college ethos of providing equal support for the widest possible range of people, the quality of space and choice of finishes, from main entrance to refectory, workshop and sports areas treats all students with respect,” the architects added, “while the distribution of social and flexible learning space throughout encourages a relaxed, positive attitude to learning.”

Large windows and roof lights flood the internal circulation areas and communal spaces with natural light. Distinctive angular ceiling panels that help to improve acoustics in these spaces also feature integrated LED lighting strips.

Interior of Scottish college by Reiach and Hall Architects
Roof lights bring natural light inside. Photo is by Paul Zanre

The design by Reiach and Hall was delivered by executive architect Keppie Design and main contractor Balfour Beatty.

The project is one of six buildings shortlisted for this year’s Stirling Prize, which will all be featured on Dezeen ahead of the winning project’s reveal next week at RIBA’s London headquarters.

Alongside the college, the shortlist also includes a community centre in west London that was designed by Mae Architects and Magdalene College library by Niall McLaughlin Architects.

The photography is by Keith Hunter unless stated otherwise.

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Dezeen and The Mindcraft Project showcase experimental work by Danish designers

Designs on display as part of The Mindcraft Project

Dezeen has teamed up with Danish initiative The Mindcraft Project to present 10 designers’ works as part of its annual digital exhibition, which showcases experimental design at the junction of technology, craft, art and architecture.

Every day for ten days from 4 October, Dezeen x The Mindcraft Project 2022 will profile a different Danish designer’s work in a series of videos.

A photograph of designs from The Mindcraft Project in a gallery setting
The Mindcraft Project is organised by the Copenhagen Design Agency (CDA)

Organised by Copenhagen Design Agency (CDA), The Mindcraft Project is an annual digital exhibition that focuses on the explorative work of Danish practitioners who utilise new digital methods in their design process, in addition to traditional craft techniques and materials.

“Our digital format reaches a global audience and presents the Danish designers and studios to a very large group of relevant people around the world,” said co-directors of CDA Anders Kongskov and Kristian Kastoft.

A photograph of a designer next to her wooden objects
Ten designers’ works will be presented during the collaboration

“Furthermore, our format gives insight into the designers’ creative process and the stories behind the objects with in-depth descriptions, bios and videos,” Kongskov and Kastoft continued.

“On top of showing the excellent design and art pieces, we invite the audience into the minds of the makers.”

A number of objects on display in a gallery
The project will present the stories behind the objects through descriptions and videos

Among the designers chosen for the 2022 exhibition are Sara Martinsen, who has created a sculptural free-standing object expressing the value of underused wood, and Kristine Mandsberg, who has made a series of sculptural textile forms that imitate the shape of organic forms.

Others include design duo Frederik Gustav, which has created a sculptural installation from steel and paper, and Iben Høj, who has made a series of delicate textile containers using both hand-made and machine-made processes.

A photograph of a designer at work
The initiative intends to give insight into the designers’ creative processes

This year’s exhibitors were chosen with input from the CDA’s new Curator Advisory Board, which has a “diversified knowledge and insight into the contemporary Danish design scene”, according to Kongskov and Kastoft.

The Curator Advisory Board includes the founder and creative director of architecture and design practice Studio David Thulstrup; creative director and founder of Tableau Julius Værnes Iversen; and head of design at Fritz Hansen Marie-Louise Høstbo.

A photograph of a creative working on a design
The initiative presents the new work of Danish designers

The Mindcraft Project 2022 is supported by The Danish Arts Foundation, VOLA, Augustinus Fonden, Beckett Fonden and Aage og Johanne Louis-Hansens Fond.

The Mindcraft Project digital exhibition is online from 4 October at mindcraftproject.com.

Watch all the videos on Dezeen as we publish them at: www.dezeen.com/the-mindcraft-project-2022

Dezeen x The Mindcraft Project 2022

Dezeen x The Mindcraft Project 2022 is a partnership between Dezeen and Copenhagen Design Agency. Find out more about Dezeen partnership content here.

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Frederik Gustav creates light installation from paper and thread

Two paper light installations by Frederik Gustav

Copenhagen-based design studio Frederik Gustav has created a system of light-diffusing paper screens held together by fine threads, which is highlighted as part of our Dezeen x The Mindcraft project 2022 collaboration.

Titled Paperwork, the light installation is one of 10 Danish designs presented in The Mindcraft Project exhibition.

Two paper light installations by Frederik Gustav
The installation is made from paper, thread, steel weights and a light source

To create Paperwork, a series of threads were suspended and weighted down by small steel weights, which twist together to create tension.

The tension between threads was used to hold translucent paper sheets around an artificial light source without damage to the delicate sheets.

Close up of illuminated paper as part of the Paperwork installation
Frederik Gustav chose cardboard paper for the translucent sheets for its copper hue

“The humble nature of the exposed system brings with it a sense of value to the everyday piece of paper, exploiting its level of opacity and textural beauty once illuminated,” said Frederik Gustav.

The design duo describes how they observed that weighted thread naturally intertwines together, “providing two parallel lines with the clamping ability to fasten relatively light objects, such as paper”.

Two paper light installations by Frederik Gustav
Paperwork can be scaled to different sizes and arrangements

According to the designers, Paperwork showcases the beauty of simple, everyday and accessible materials.

The light-diffusing sheets are made from cardboard paper, chosen for its copper-like hue when illuminated, and treated with beeswax to make it more transluscent.

One paper sheet illuminated as part of the Paperwork installation
The paper sheets are treated with beeswax

The design of Paperwork can be scaled and modified into different arrangements. While developing the installation, Frederik Gustav relocated from its small studio space to an open production hall, which influenced the architectural nature of the lighting design.

“We started the project in our small studio space that kind of influenced the scale of our work, but at some point, we began lacking ceiling space and then we gradually moved out into the big production hall,” said the design duo.

Paperwork installation model illuminated by Frederik Gustav
The installation aims to combine architectural, lighting and object design

“Quite quickly the 1,000-square-metre space started mirroring in our work and the project moved in a more architectural direction,” Frederik Gustav continued.

“The fact that the final installation sits within these two extremes of scale highlights the ability of Paperwork to be utilised as a method of constructing spatial installations that can be continuously reshaped, modified and scaled.”

The photography is by Anders Sune Berg and the video is by Benjamin Lund.

Dezeen x The Mindcraft Project 2022
Dezeen x The Mindcraft Project 2022 is a partnership between Dezeen and Copenhagen Design Agency. Find out more about Dezeen partnership content here.

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Universal Design Studio models Biotherm's Monaco concept store on a laboratory

Biotherm concept store in Monaco has blue interiors with science lab-inspired details

The visual language of scientific laboratories informed the look of this blue-lit concept store in Monaco, which London firm Universal Design Studio has devised for skincare brand Biotherm.

Set inside Monaco’s historic Oceanographic Institute, Blue Beauty Lab is where buyers and other industry insiders can come to expand their knowledge of the science underpinning Biotherm‘s skincare line.

Biotherm concept store in Monaco has blue interiors with science lab-inspired details
Visitors enter the Blue Beauty Lab via a circular doorway

Although the 30-square-metre concept store showcases a selection of the brand’s products, none of them are for sale. Instead, visitors can fully immerse themselves in the experience of being in the “lab”.

“Brands are increasingly looking to physical presence for means above and beyond selling products,” explained Satoshi Isono, creative director at Universal Design Studio.

“They’re harnessing spaces to storytell their core brand messaging in unique ways and ultimately connect with customers in a more impactful way.”

Biotherm concept store in Monaco has blue interiors with science lab-inspired details
The first section of the store is set up like a science lab

As the outer walls of Blue Beauty Lab back onto water tanks harbouring various aquatic creatures, Universal Design Studio had to keep architectural interventions to a minimum. As a result, the store’s floor plan is fairly simple.

To enter, visitors walk through a circular doorway and a short mirrored tunnel. The interior is washed in sea-blue light and split into two parts.

Biotherm concept store in Monaco has blue interiors with science lab-inspired details
Steel worktops and petri dishes add to the lab-like feel of the space

The first is an area reminiscent of a research lab that gives an insight into the production process of Life Plankton – an extract containing 35 different nutrients that Biotherm incorporates throughout some of its moisturisers, serums and skin peels.

Stainless steel counters and glass shelving units run down the sides of the space, dotted with science paraphernalia like microscopes, petri dishes, test tubes and measuring flasks.

A small workshop forms the second part of the store, centred by a round table. Directly above is a large ring light emitting a bright white glow that enhances the lab-like feel of the space.

Interactive visuals produced by multimedia design studios Superbien and AC3 Studio are projected on the surrounding walls.

Biotherm concept store in Monaco has blue interiors with science lab-inspired details
Measuring flasks and test tubes are also displayed on the shelves

The clinical aesthetic of laboratories has also inspired a number of other interiors.

Among them is a bike shop in Copenhagen by local designer Johannes Torpe and a cafe in Tokyo with a white-lacquered steel ceiling grid.

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Pratt Institute's Fashion New Media course immerses students in "cutting-edge fashion technologies"

The facade of Pratt Institute

Promotion: Pratt Institute‘s Fashion New Media course enables students to produce a market-ready design portfolio and build their professional network, according to the New York-based design school.

Pratt Institute’s Fashion New Media course has a multidisciplinary programme, which prompts students to examine fashion and the “digital landscape” surrounding it.

The front facade of Pratt Institute
Pratt Institute is based in New York. Image by Deniz Gonel, BFA ’24. Image above by Tony Murray, @to.mu.lab

The course aims to equip students with an in-depth knowledge of fashion, in addition to experience in CAD design, interior design, video production, graphic design and branding and digital marketing.

It includes small interactive classes either in-person or via Zoom. Students also get access to software for remote use and designated campus labs.

An image of a blond model
The istitute’s Fashion New Media course focuses on “cutting-edge fashion technologies”. Image by instructor at Pratt Institute, Paul Sunday

Throughout the programme, students are also able to meet designers and innovators of emerging technologies, including those working in augmented reality (AR) and virtual reality (VR).

“In the course, students interact with the most cutting-edge fashion technologies available today,” said course instructor and founder of Digital Fashion Week New York, Clare Tattersall.

“Each week, they meet digital designers and innovators of emerging technologies, including AR, VR and NFT’s,” Tattersall added.

A photograph of a computer desk
Students get access to software for remote use and designated campus labs. Image by Katie Kwok, BArch ’23

Course speaker Nicole Reader, who is also the founder of the digital fashion consultancy Modern Mirror, believes leveraging technology in this way has resulted in their brand’s success.

“Through our technology, we are able to capture people’s true likeliness as 3D animated representations of themselves enabling them to try on and wear either ready-to-wear or one-of-a-kind collections, unlocking the next level of personalisation in the Metaverse through their digital selves,” commented Reader.

Foyer of Pratt Institute
Pratt Institute is a leading design school. Image by Katie Kwok, BArch ’23

As part of the course, students also take part in a final virtual exhibition, which they can use towards building a professional design portfolio while presenting the diverse skill set they have gained.

“A true multidisciplinary programme, Fashion New Media encompasses more than digital fashion,” said Pratt Institute.

“The program provides ample elective course options that enable students to earn micro-credentials in CAD design, interior design, branding and digital marketing, photography and video production, graphic design, UX/UI design and more.”

Pratt Institute lecture taking place
The course has a diverse interdisciplinary programme. Image courtesy of Pratt Institute

Each semester, international students enroll in the course on F1 visas, according to the design school.

International students who study in the USA for three semesters can undertake Optional Practical Training (OPT), which provides work authorisation for up to a year, “effectively turning the program into a powerhouse for experiential learning in NYC and a significant opportunity for a resume boost”.

“We are happy to afford access to an international audience,” said Pratt SCPS director of strategic initiatives and programs, Chris Ferrara.

To learn more about the course and how to apply, visit Pratt Institute’s website.

Partnership content

This article was written by Dezeen for Pratt Institute as part of a partnership. Find out more about Dezeen partnership content here.

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Font adaptive cutlery collection combines aesthetics and accessibility

Font cutlery by Hop Design

Australian studio Hop Design has used 3D printing to create a cutlery set called Font that can be tailored to people with different disabilities while maintaining a strong and cohesive aesthetic.

Named for its typography-like appearance, the Font cutlery collection, which has been shortlisted in the homeware design category of Dezeen Awards 2022, comes in 24 distinct sets and could potentially also be developed for custom order.

Hop Design founder Michael Hoppe created the cutlery with the idea of making everyone feel included around the dinner table.

Adaptive cutlery in different shapes
The different shapes in the cutlery are designed to cater to different mobility issues

“Cutlery solutions for people with disabilities can be orthopaedic looking and create a sense of ‘other’ when sitting next to regular cutlery,” said Hoppe. “We aim to change that.”

The minimalistic cutlery features exaggeratedly rounded shapes on the handles, knife blade, spoon bowl and fork kneck. These characteristics make it look like a united collection, even given all of the other variations.

Some elements that commonly change across the collection are the thickness of the handles and the angles between the handles and eating implements.

Overhead image of various Font cutlery sets arranged around circular plates on a circular table
The Font cutlery collection is meant to make everyone feel included around the dinner table

Hoppe designed the sets to cater for people with all different levels of hand strength, dexterity and control — capacities which may be diminished by age, injury, arthritis or congenital issues, among other reasons.

Since there is no one-size-fits-all solution that would be adequate for this wide range of needs, Hoppe used 3D-printing to make highly specialised and customisable options, working in consultation with end users and occupational therapists.

The handles are 3D-printed in polyamide and the metal parts in stainless steel. The colours and finishes can be easily varied.

“I wanted a simple aesthetic to make it easy to create a visual family while still allowing for a lot of variation in form,” Hoppe told Dezeen.

“Everyone has a favourite spoon or cup that they use all the time. There is a lot of potential for leveraging aesthetics in inclusive design and design for people with disabilities.”

Black and metal finished Font cutlery set
Different colours and finishes are easy to achieve with 3D printing

Hoppe’s next goal is to enable customers to design their own custom implements, either by tweaking one of the existing models or working with the studio to create a new variation that goes into the database.

For modifying existing designs, he intends to have an app through which people can adjust the dimensions of a parametric model before ordering them.

“Most users will have a set up that they are comfortable with and can be a starting point,” he said.

Other recent adaptive designs have come from Microsoft, which recently released a range of computer accessories for people with limited mobility or visual impairments, and Kim Kardashian, whose SKIMS shapewear comes with accessible features.

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Top 10 sustainable designs you need in your daily life

Our unhealthy practices and way of living are truly harmful to the environment and have been slowly leading to its deterioration. And the world has been changing (for the worse) because of this. Hence, it is extremely important to live sustainably and consciously and to take care of the environment. Integrating sustainability into our day-to-day lives has become crucial! And we can do this in various ways. Designers and creators are coming up with sustainable alternatives for almost everything! Every product that is necessary and utilized by us in our everyday routine has an eco-friendly alternative to it. Replacing our usual mass-produced designs with these greener options will make a huge difference to the environment and Mother Earth. From soap packaging made using artichoke waste to sustainable bio-leather  – we’ve curated a whole collection of sustainable product designs to help you go green!

1. The Kreis Cup

Meet the Kreis Cup, a coffee cup that’s sustainable, durable, and designed to enhance your coffee-drinking experience! Available in cup and travel-mug styles, the Kreis Cup is a reusable cup made from used coffee grounds and plant-based materials, free of petroleum-based plastics.

Why is it noteworthy?

It is heat resistant and designed to keep your coffee hot longer. That being said, the Kreis Cup is still ultimately biodegradable, unlike plastic-based to-go mugs you get at your local cafe or the breakable ceramic mugs you use at home. Once it reaches the end of its lifespan, the Kreis Cup disintegrates easily into the soil, leaving absolutely nothing behind.

What we like

  • Made from spent coffee grounds that have been dried, treated, and then suspended in a natural, plant-based polymer
  • Has the faint, unmistakable scent of coffee

What we dislike

  • No complaints!

2. Packioli

A Turkish designer was able to come up with soap packaging called ‘Packioli‘ that is both hygienic and non-plastic and therefore more eco-friendly. One thing missing from most similar products is convenience and she was able to add it to this as well.

Why is it noteworthy?

She used artichoke leaves and combined them with peapod bioplastics in order to create packaging that commercial soap brands can actually use if they really wanted to be more eco-conscious in creating their products.

What we like

  • The packaging itself can last for a week if it gets wet and afterward, it starts disintegrating in the water

What we dislike

  • People may find the look of the packaging a bit eccentric and odd

3. Kudarat

Meet Kudarat, a leather alternative synthesized using algae, food & fiber waste. Created by Divya Verma of the National Institute of Design in India, Kudarat bases itself on the concepts of circularity & sustainability, targeting SDGs (sustainable development goals).

Why is it noteworthy?

Kudarat leather resembles animal leather but is cruelty-free, waterproof, compostable, antimicrobial, and possesses good tensile strength, making it perfect for practical applications. It secured the National Runner-Up position at this year’s James Dyson Awards, narrowly being beaten by a design for a reusable EpiPen.

What we like

  • They’re dyed using natural colors derived from food and flower waste
  • The leather looks, feels, and lasts as long as traditional animal-hide

What we dislike

  • No complaints!

4. The Third Size

The Third Size is a product concept that utilizes rice straw to create not just the tissue but the boxes they come in as well. As anyone who has lived without a bidet or who suffers from various allergies and sicknesses, tissue paper is among the most used materials. In reality, just a small part of it is used and the rest is discarded. Re-using it comes with so many hygiene and medical issues. Some of them come in disposable boxes so the container is also part of the waste.

Why is it noteworthy?

Using biodegradable and recyclable materials like rice straw can help in limiting wastage. Third Size is a multi-size carton that can hold replaceable tissue packs. The different-sized holes let you choose which size tissue you’ll be needing, whether to blow your nose, wipe off a table, or do your business in the bathroom. The box is sturdy enough to be re-used several times over and can even be used as a container for other stuff if you have no need for tissue paper.

What we like

  • Helps in limiting wastage
  • The box is sturdy enough to be re-used several times over

What we dislike

  • No complaints!

5. Nike Forward

Nike has consulted athletes around the world who have a common consensus – climate change is a barrier to sport. To break the jinx, the Oregon-based apparel brand has Nike Forward as the answer.

Why is it noteworthy?

It’s an innovative material fabrication method that reduces carbon footprint by 75 percent. The reductive approach eliminates some levels of the multi-stage production cycle involving spinning, knitting, cutting, sewing etc. Instead, the brand uses punch-needle machines to turn fiber into textile, while being considerate of it not being treated with any dyes.

What we like

  • It employs zero water in production
  • Less dense compared to the normal hoodies we all wear

What we dislike

  • No complaints!

6. The Adidas RPT-02 SOL

Dubbed the Adidas RPT-02 SOL, these pair of over-the-ear cans juice up with natural light or even artificial light. So, they’ll not need to recharge any time soon. These headphones are a follow-up to the RPT-01(not solar-powered) and promise almost double the playback time at around 80 hours. Not to forget that the RPT-02 SOL are solar powered, and the battery keeps topping up as long as you are exposed to good lighting conditions.

Why is it noteworthy?

Another merit of these IPX4-rated headphones is their build – crafted out of recycled plastic and nylon. Now coming onto the solar charging capabilities Adidas has left nothing to chance. They’ve used a highly flexible light-cell material by Powerfoyle (a Swedish solar tech company) that brings to the fore superior energy capture and charging capabilities even in artificial light.

What we like

  • Just in case you have been in the dark trenches and the battery depletes, it can be charged via a USB-C port

What we dislike

  • No complaints!

7. Remix Maison

Remix Maison is a collaboration between designer Irina Flore and Native Shoes using the latter’s material called Native Shoes Remix. This proprietary material is made from repurposed footwear, specifically using EVA (Ethylene Vinyl Acetate) and rubber.

Why is it noteworthy?

The shoes that are no longer in use are cleaned and then ground into a new kind of material and then used for other purposes. The sculptural structures also use metal for its frame. For this particular collection, they have created a piece of furniture that also looks like a piece of art.

What we like

  • Created from repurposed materials
  • Sturdy and ergonomic

What we dislike

  • No complaints!

8. The P-LOGIC Chair

The P-LOGIC chair is a product concept that wants to combine “functionality, aesthetics, ergonomics, and sustainability”, four aspects that when put together can be the perfect kind of furniture. The chair is actually also a desk and is shaped uniquely with waves and curves that are not just for design purposes but can also be functional.

Why is it noteworthy?

This piece of furniture is created specifically for children 5-8 years old and is made from sustainable materials and sports an eco-friendly design. The entire chair is made from wood from sustainable forests and the table part is actually made from recycled PET thermoplastic polymer. Basically, it’s actually from bottle caps that have been recycled, chopped, melted, and sanded down.

What we like

  • It’s a good way to teach eco-friendly and sustainable design to the kids who will be using them

What we dislike

  • No complaints!

9. Plastplan

Plastplan Process

Plastplan Overview

The design studio based in Iceland aims to help make a sustainable planet by resolving society’s excessive use of plastic. It may not achieve the ultimate solution but every little effort matters when it comes to the planet’s future. With the idea that recycled plastic has potential, Plasplan combines the concepts of product designers Björn Steinar and Brynjólfur. With the latter’s background in mechanical engineering and computer science, the pair can work on a collection of household goods and furniture items made solely made from recycled plastic.

Why is it noteworthy?

Initially, Plastplan was formed as the founders wanted to start an educational platform where plastic is discussed. It’s not just about the proper use or disposal of plastic. It’s about making it go full circle, as per Björn Steinar. The circular economy of plastics starts with shredded plastic and then transforms into real objects. The series includes a wall shelf, chair, stool, mirror, coffee table, table lamp, and flower vases.

What we like

  • The studio also has developed its own industrial 3D printer that allows them to print large-scale items without spending on molds

What we dislike

  • No complaints!

10. Aromanordic Inhaler

This Aromanordic inhaler from Thailand brings not just the healing qualities of herbs but also a part of its cultural heritage. What makes the Aromanordic Inhaler stand out from other similar products in the market is that it incorporates nature and culture in its design.

Why is it noteworthy?

The case of the inhaler is made from natural wood instead of the usual metal or plastic outer body. It is made from rubberwood scrap material so it’s also sustainable. Since the inside is refillable and replaceable, you don’t need to throw things away when you’re done with it.

What we like

  • Aside from being more aesthetically pleasing, the wood also absorbs the scents of the herbs that are inside
  • Since the inside is refillable and replaceable, you don’t need to throw things away when you’re done with it

What we dislike

  • No complaints!

The post Top 10 sustainable designs you need in your daily life first appeared on Yanko Design.

Uncrate x Bell & Ross BR 03-92 Wayne Enterprises satin-polished steel watch with copper-brown inner bezel is ready for the caped crusader

Watchmakers have an uncanny way of drawing inspiration from fictional characters to connect with pop culture enthusiasts. For its latest inspirational outing, Bell & Ross has entered into a collaboration with online publisher Uncrate to design a Batman-worthy watch for the fictional comic company, Wayne Enterprises.

The Uncrate BR 03-92 Wayne Enterprises is an adaptation of the existing and famous Bell & Ross with the same moniker. The latter is an aviation-inspired timepiece with etched military aesthetics, which the new design reworks for the better of pop culture. The BR 03-92 Wayne Enterprises transforms the iconic square case of the original Bell & Ross giving it a skeletonized outlook, allowing the appreciators to peek through the dial down to the mechanical movement.

Designer: Bell & Ross

The Uncrate x Bell & Ross BR 03-92 Wayne Enterprises watch arrives in a square-shaped 42mm satin-polished steel casing. The copper-brown inner bezel highlights the black see-through dial permitting sight of the movement’s inner workings. The watch numerals are painted black while the hands and indices are filled with Super-LumiNova for the convenience of reading time in the dark. The highlight here is the words “Bell & Ross” at 12 o’clock, which appear white or black. According to the French watch company based in Paris, this is because the mirror effect alters the text color (between black and white) depending on the light reflection.

The movement visible through the skeletonized dial is a Calibre BR-CAL.321 self-winding movement which offers 38 hours of power reserve. The solid caseback features engravings highlighting the Bell & Ross, Uncrate, and Wayne Enterprises collaboration. The watch is strictly limited to 100 examples – each specifically numbered and valued at $4,800. The lucky vigilante can switch between leather and nylon straps and dress up to save lives in town!

The post Uncrate x Bell & Ross BR 03-92 Wayne Enterprises satin-polished steel watch with copper-brown inner bezel is ready for the caped crusader first appeared on Yanko Design.